The Jazz Guitar Chord Dictionary
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  1. #1

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    Found this on my PC (swing comping chords for All the things you are), something I did a while ago. Thought it might be useful for someone. Incidentally these were derived from Barry Harris 6th/dim and Dom7/dim chord patterns, but omitting the 5th string.
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    Last edited by grahambop; 08-11-2018 at 06:09 AM.

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Thanks, Graham! That looks good. I'll print this and put it on the music stand for the coming week. (My week's start on Sunday, so that's tomorrow. Perfect!)

  4. #3

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    tthanks for sharing Graham, you are the promised kiss of springtime

  5. #4

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    oh so you don’t think I’m the angel glow that lights a star then?

  6. #5

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    i would require the tabz for that

  7. #6

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    That stuff is my bread and butter

  8. #7

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    Quote Originally Posted by christianm77
    That stuff is my bread and butter
    There’s a Herb Ellis video where he says if you get this stuff down, you will always get gigs.

  9. #8

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    Quote Originally Posted by grahambop
    There’s a Herb Ellis video where he says if you get this stuff down, you will always get gigs.
    Ha, I think so! You might not end up playing ANYTHING else, but you'll get gigs :-)

  10. #9

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    Quote Originally Posted by grahambop
    There’s a Herb Ellis video where he says if you get this stuff down, you will always get gigs.
    Not true for 20 years. There's 37 million guitarists in the US and only 41 gigs.

  11. #10

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    Quote Originally Posted by cosmic gumbo
    Not true for 20 years. There's 37 million guitarists in the US and only 41 gigs.
    Party-pooper!

  12. #11

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    Quote Originally Posted by grahambop
    Found this on my PC (swing comping chords for All the things you are), something I did a while ago. Thought it might be useful for someone. Incidentally these were derived from Barry Harris 6th/dim and Dom7/dim chord patterns, but omitting the 5th string.
    It sure would be nice if you could fire up your BIAB software and take us through a couple of choruses with your utilization of these chords.

    No pressure, but if you get a spare moment or two...

    Oh, and by the way, thanks, ha, ha, despite what the Cosmic One said!

  13. #12

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    Actually I know a band leader in NYC who said it was very difficult to find good swing rhythm guitarists. Could have been my in had things gone differently ;-)

    So long as swing dancing remains popular (and so far it’s clocked about 20 years since the revival) there will be plenty of rhythm guitar gigs in every major city in the world.

  14. #13

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    Quote Originally Posted by AlsoRan
    It sure would be nice if you could fire up your BIAB software and take us through a couple of choruses with your utilization of these chords.

    No pressure, but if you get a spare moment or two...

    Oh, and by the way, thanks, ha, ha, despite what the Cosmic One said!
    Not sure what you mean, I wouldn’t use BIAB for this, it would just use the usual chords not these ‘swing’ voicings. Maybe you could mute the piano and record these chords with just bass and drums. Actually I would prefer to just record these chords on my guitar (acoustic sound only) then overdub a solo (also acoustic perhaps).

    Actually I did something similar once, here’s the clip (Minor Swing). This was all done on my ES175 with just the acoustic sound.


  15. #14

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    Just play along with records

  16. #15

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    Funny, just decided this is my area to work on for the next 6 months or so...because... I always get called to do gigs in this style. Might as well make it "my bag"...

    Thanks for postingit GB.

  17. #16

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    Great thread...this stuff sounds so good on an acoustic guitar...

  18. #17

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    On a side note.
    In the Herb Ellis book, "All the Shapes You Are", there is a section on "playing the backup" for ATTYA. Terry Holmes demonstrates it. It's not four-to-the-bar comping, so it's not the same thing as what Graham generously gave us here, but it's a very good tip for a comping chorus when you're NOT doing four-to-the-bar: where the melody is busy, you play less; where it is sparse,you play more.

    We see this in turnarounds or phrase endings where the melody may be one note for a bar or more. You (comping) fill up that space.

    You can also apply this concept to back a soloist. Where they are "filling it up," you need not.

  19. #18

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    Quote Originally Posted by MarkRhodes
    On a side note.
    In the Herb Ellis book, "All the Shapes You Are", there is a section on "playing the backup" for ATTYA. Terry Holmes demonstrates it. It's not four-to-the-bar comping, so it's not the same thing as what Graham generously gave us here, but it's a very good tip for a comping chorus when you're NOT doing four-to-the-bar: where the melody is busy, you play less; where it is sparse,you play more.

    We see this in turnarounds or phrase endings where the melody may be one note for a bar or more. You (comping) fill up that space.

    You can also apply this concept to back a soloist. Where they are "filling it up," you need not.

    Good points...

    I took graham''s post as more of a "here's what you could do over each chord" as opposed to "here's what to do."

    You do have to be careful with this stuff, a lot of it is situational, and even depends on what kind of guitar you're playing.

  20. #19

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    Yes it was a bit of an exercise to see how I could connect up the changes with a lot of movement in what you might call a ‘Freddie green’ style. If you played this behind a soloist you would probably want to turn the volume way down and almost go acoustic. Like that comping Jim Hall does with Bill Evans on ‘funny valentine’ where Jim goes into that 4 to the bar bit.

    Also I wanted to try it on a tune with lots of changes hence ATTYA.

  21. #20

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    Herb Ellis demonstrates some similar comping here at 5min 45 secs:


  22. #21

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    Quote Originally Posted by grahambop
    Yes it was a bit of an exercise to see how I could connect up the changes with a lot of movement in what you might call a ‘Freddie green’ style. If you played this behind a soloist you would probably want to turn the volume way down and almost go acoustic. Like that comping Jim Hall does with Bill Evans on ‘funny valentine’ where Jim goes into that 4 to the bar bit.

    Also I wanted to try it on a tune with lots of changes hence ATTYA.
    Right. I love this style of playing. Ranger Doug still does it and sounds good to me. Jimmy Bruno said a bass player he knows wants him (Jimmy) to comp like like this while he (the bassist) solos, w the volume down a bit. It’s a wonderful sound / feel.



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  23. #22

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    I think I should try and do the same thing on Giant Steps next!

  24. #23

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    Quote Originally Posted by grahambop
    I think I should try and do the same thing on Giant Steps next!
    Ooooh, let's make that a thing...we can each take 4 bars? Who's in?

  25. #24

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    been in my head all day “gi-ant steps gi-ant, gi-ant steps, gi-ant steps, gi-an steps gi-ant”

  26. #25

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    Quote Originally Posted by grahambop
    Found this on my PC (swing comping chords for All the things you are), something I did a while ago. Thought it might be useful for someone. Incidentally these were derived from Barry Harris 6th/dim and Dom7/dim chord patterns, but omitting the 5th string.
    Hi Graham. A novice here. Please could you talk me through:
    a) bar 5 particularly beats 2 and 4
    b) bar 13 beats 2 and 4
    Thank you